Topsy-Turvy Page #12

Synopsis: After their production "Princess Ida" meets with less-than-stunning reviews, the relationship between Gilbert and Sullivan is strained to breaking. Their friends and associates attempt to get the two to work together again, which opens the way to "The Mikado," one of the duo's greatest successes.
Director(s): Mike Leigh
Production: October Films
  Won 2 Oscars. Another 11 wins & 27 nominations.
 
IMDB:
7.4
Metacritic:
90
Rotten Tomatoes:
89%
R
Year:
1999
154 min
Website
1,010 Views


Good night, girls! | I don't want to be late for supper.

Oh, Bunny, you look charming!

It's a fine comic song. | He sings it splendidly.

Does the paying audience | not deserve to hear it?

I agree, Walter. They do.

Rotten luck for poor old Temple.

- I'm not convinced it's an immortal song. | - Nobody said it was, Mr Lewis!

It's not the Holy Grail!

Despite your reservations | about the song...

...you must concede | it is an original performance.

He should have cut | one of Grossmith's songs.

- Mr Grossmith is poorly. | - Then he should have stayed at home.

I think it's a misjudgement. | Someone should tell him.

- Tell who? | - Gilbert.

- He's only a man, like the rest of us.

He's not the devil incarnate.

He scares the living daylights out of me.

- What about us? | - Beg pardon, Price?

- Why can't "we" speak to Mr Gilbert?

Well, we could all go together.

There's no reason why we shouldn't.

Is there?

Tell a man you admire his lyrics, | he can only be gratified.

It's a splendid notion, Mr Price.

Well, here's food for thought.

Gentlemen, I have been a chorister | in this company for 28 seasons.

It is my intention to remain one | for at least another 28.

- I'm sure you shall. | - Be very careful, Mr Price.

You must consider yourself...

...and your position.

This is tantamount | to professional suicide.

Oh, WJ, that is a little excessive...

Gentlemen, let us repair | to The Coal Hole in the Strand.

Don't be long, chaps.

- Good night, gentlemen. | - Good night.

- Take heart. | - You'll be wonderful.

Quite so.

Is that not right, wee Durward?

Ach, he'll be grand, Helen.

This has taken us all quite by surprise.

And we all know Mr Gilbert.

- I'd have thought it was a fine song. | - It is.

Thank you.

Is there anything | we can arrange for you, Mr Temple?

No, thank you, Miss Lenoir.

I'll be fine.

It's very late. Congratulations, Lely.

- First class. | - Ach, no. Did you think so?

- Oh, yes. | - Better and better.

Thank you. "Grazie. Grazie."

- The Beefsteak? | - I'm ravenous.

- Gentlemen, good night. | - Good night.

- Good night, Butt! | - Good night.

Dickie! "Courage."

Well, there you have it, Dickie.

He's an absolute bastard.

I knew something of this order | would happen.

I sensed it, I told you so!

This really is unconscionably cruel.

You've missed your last train, Dickie.

It's too late to telegraph | the Mrs Temple now.

What'll you do?

I suppose I shall toddle across the river | to my mother's. She never sleeps.

There's g'aye few like us...

...and they're all dead.

My father used to say that.

Laughter.

Tears.

Curtain.

- Good afternoon, Bovill. | - Good afternoon, Mr Gilbert.

- Good afternoon. | - Good afternoon, Miss Russell.

Good afternoon, Rhys... Good heavens!

- Afternoon, Mr Gilbert. | - Good afternoon.

- Might you, er... spare us a moment? | - Of course, we're here to rehearse!

- Please, Mr Gilbert, sir. | - Yes, Price, what is it?

- We, er... | - Hmm?!

The... ladies and gentlemen | of the chorus...

Yes?

Concerning Mr Temple's song, sir.

Ah, the Mikado's song.

Yes, sir.

What of that mercifully | released aberration?

- We all consider it... a very fine song, sir. | - Indeed we do.

Gratifying, I'm sure.

That must be a matter of opinion, | mustn't it, Price?

Well, yes, Mr Gilbert, | but we believe it a great loss.

- Do you? | - Yes, sir.

Especially after all our | extremely hard work.

And, of course, Mr Temple.

I'm really very sorry for you, | but as we all know, it's an unjust world.

We all feel it would have been | of great benefit to the opera.

And that perhaps | the audience should decide.

Is this the considered opinion of you all?

It is, sir.

- I am not party to this, Mr Gilbert. | - Ah, Mr Kent.

As ever, the sole voice of reason.

Temple, what do you make | of this occurrence?

I do beg your pardon, Mr Gilbert.

But I have absolutely no idea | what is taking place.

There has been a request | that your song be reinstated.

Ah.

Ah.

A most forceful request, I have to say.

Afternoon!

Do clear the way.

Oh. I beg your pardon, sir.

This is surprising indeed, | ladies and gentlemen.

And somewhat overwhelming.

Temple. Would you be prepared to sing | the song at this evening's performance?

Yes, sir. I would.

Then please be so good as to do so.

- Hip-hip...

- Hooray! | - Rehearsals in five minutes.

Seymour, where's D'Auban?

- Congratulations, Temple. | - Thank you, good chappie.

Right you are, Pidgeon! | Come along! Make haste!

- Sir, it's seven o'clock, sir. | - Ah, there you are, Willie.

Willie! Willie!!

The carriage is waiting, sir.

Sir!

- Out of my way, Pidgeon! | - I do apologise, sir.

Willie! We must be leaving!

We don't want to be late.

- You look beautiful, madam. | - Oh, thank you, Mrs Judd.

Oh, it's most pleasant to be appreciated.

Don't worry, madam.

- Good evening, Cook. | - Evening, sir.

- Come in!

- GG! | - Arthur!

- Your very good health. | - Yours too, Arthur.

- Splendid piece. | - Thank you.

We shall both be splendid tonight.

Too many words.

- I thought I'd just pop in. | - Much appreciated.

So very frightened of losing...

One had to stay by the door, | don't you know?

- I beg your pardon? | - 50 per week isn't too much to ask.

Behaves more like a man than a woman.

GG.

- Try to remember to breathe properly. | - Yes, yes, yes.

This year... next year.

Too much noise.

George. Shall we fetch you a doctor?

I know doctors!

Coming in here, | picking and fussing over one!

Magnetising the children.

We shall have a great triumph, you know.

What is the time, by the way?

A quarter past. | The dreaded hour approaches.

Now...

Take a deep breath.

Very good.

- Who is it? | - Gilbert.

Do come in, Mr Gilbert.

- A brief intrusion. | - How are you, Mr Gilbert?

As well as any condemned man | can expect.

- How are you, ladies? | - Oh, a little anxious, Mr Gilbert.

You have every right to be anxious | under the circumstances.

I don't suppose | you'll be with us this evening.

Indeed not. Why on earth | should I consort with the foe?

Oh, but I'm quite sure | we shall have a great success, Mr Gilbert.

I wish I possessed your confidence.

Well, Jessie!

Bonne chance!

- Thank you. | - And you, tortoise.

Thank you, Mr Gilbert.

Very good.

I shall put on my kimono now, | please, Emily.

Oh! Very well, Miss Braham.

- Good evening, Cook. | - Sir.

- Is Mr Grossmith respectable? | - I'm afraid not, sir.

- We'll return later, George. | - Oh, thank you.

- Good evening. | - Sir.

No, Cookie!

- Gilbert! | - I beg your pardon, sir.

May I come in?

I'm in my birthday suit.

- Ah. Are we not receiving? | - No, sir.

Good luck, Grossmith! | And be careful with the sword.

Righto!

- Walk, boy! | - Yes, sir.

Permission, Mr Cook.

Permission withheld, sir. On your way.

Thank you, sir. Good luck, sir.

Five minutes, sir.

# Miya sama, miya sama

# On n'm-ma no maye ni

# Pira-Pira suru no wa

# Nan gia na

# Toko tonyare tonyare na?

# Miya sama, miya sama

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Mike Leigh

Mike Leigh (born 20 February 1943) is an English writer and director of film and theatre. He studied at the Royal Academy of Dramatic Art (RADA) before honing his directing skills at East 15 Acting School and further at the Camberwell School of Art and the Central School of Art and Design. He began as a theatre director and playwright in the mid-1960s. In the 1970s and 1980s his career moved between theatre work and making films for BBC Television, many of which were characterised by a gritty "kitchen sink realism" style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997), the Gilbert and Sullivan biographical film Topsy-Turvy (1999), and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993), for which he won the Best Director Award at Cannes, the Oscar-nominated, BAFTA and Palme d'Or-winning drama Secrets & Lies (1996), the Golden Lion winning working-class drama Vera Drake (2004), and the Palme d'Or nominated biopic Mr. Turner (2014). Some of his notable stage plays include Smelling A Rat, It's A Great Big Shame, Greek Tragedy, Goose-Pimples, Ecstasy, and Abigail's Party.Leigh is known for his lengthy rehearsal and improvisation techniques with actors to build characters and narrative for his films. His purpose is to capture reality and present "emotional, subjective, intuitive, instinctive, vulnerable films." His aesthetic has been compared to the sensibility of the Japanese director Yasujirō Ozu. His films and stage plays, according to critic Michael Coveney, "comprise a distinctive, homogenous body of work which stands comparison with anyone's in the British theatre and cinema over the same period." Coveney further noted Leigh's role in helping to create stars – Liz Smith in Hard Labour, Alison Steadman in Abigail's Party, Brenda Blethyn in Grown-Ups, Antony Sher in Goose-Pimples, Gary Oldman and Tim Roth in Meantime, Jane Horrocks in Life is Sweet, David Thewlis in Naked—and remarked that the list of actors who have worked with him over the years—including Paul Jesson, Phil Daniels, Lindsay Duncan, Lesley Sharp, Kathy Burke, Stephen Rea, Julie Walters – "comprises an impressive, almost representative, nucleus of outstanding British acting talent." Ian Buruma, writing in The New York Review of Books in January 1994, noted: "It is hard to get on a London bus or listen to the people at the next table in a cafeteria without thinking of Mike Leigh. Like other wholly original artists, he has staked out his own territory. Leigh's London is as distinctive as Fellini's Rome or Ozu's Tokyo." more…

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Submitted on August 05, 2018

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